Hello everybody,
I am excited with this project and I think it is happening at a good time in my life.
For the last five years I have been reading and writing a lot about concrete poetry and lately Iâve been trying to push the whole research to a place that I canât yet quite visualize. I can only say that the walls should be like sliding doors so that compartimented spaces can all of a sudden become one airy open dance room. Something like that. Also vent my frustration with modern architecture. My love for modern architecture.
Anyways, I love the concept of the book as a possibility to explore meaning (and meaninglessness) in language, and also the possibility of working in collaboration. I think these two things are interconected because the way a book comes together is pretty much the work of a whole group. But our obsession with authorship obscures this fact.
Here are some information on my work:
a) my artwork is part text part architecture
b) In January of this year I curated an exhibition in NY titled "Double Space." Text and images can be seen at www.apexart.org
c) In February of this year I curated a special project for Zingmagazine which consists of a book by Kenneth Goldsmith titled "6799." The text is a listing of Goldsmit's record collection from 1967 to 1999. The preface is an interview that I did with Goldsmith.
d) In 1998 I organized another project for Zingmagazine titled "Historic Kiosk." It features an interview with Mike Kelley and contributions by …yvind Fahlstršm, Raymond Pettibon, Denis Balk, Karen Kilimnik, and others
e) I'm presently working on a new project titled "How to read a novel" and it consists of a group of works (a 16mm film, a cd, drawings, a maquette, a slideprojection, and two photographs) based on the novel "Jelousy" by Alain Robbe-Grillet

all the best Sergio

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